BOYCHOIR
Directed by François Girard
Canada, USA – 2014 – 103 minutes
Distribution
Métropole Films Distribution
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Press
Mélanie Mingotaud
MingoTwo Communications
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BOYCHOIR
Director: Francois Girard (Oscar winning The Red Violin, Thirty Two Shorts Films
about Glenn Gould)
Producers: Judy Cairo (Oscar winning Crazy Heart), Carol Baum (Father of the Bride),
Jane Goldenring (My First Mister)
Production Company: Informant Media (Crazy Heart, Hysteria, Erased, Stuck in Love)
Cast: Dustin Hoffman, Kathy Bates, Eddie Izzard, Josh Lucas, Debra Winger and Kevin
McHale
Logline: A troubled 11-yr-old young boy’s life is changed when he’s challenged to be his
best by the choir director, Carvelle, at the country’s most prestigious music school for
boys.
SYNOPSIS:
STET CATES (11) is a tough kid living a hard life in Odessa, Texas. Time and time
again, Stet gets into trouble for fighting. He sings in the shower and his mother – though
she disapproves of the choice of music – is impressed by his amazing singing voice.
Despite his talent, Stet’s performance in his school choir is compromised by his
insolence. He’s the kind of kid who seeks out trouble.
The American Boy Choir comes to perform at his school, led by their stern and
formidable Choir Master, MR. CARVELLE, a man who is rarely pleased. Stet is
punished for another one of his angry outbursts and isn’t allowed to attend the
performance, but the principal, MR. STEELE, who realizes how gifted Stet is, gets him
out of detention so he will hear the choir and audition for Carvelle for a scholarship at his
choir school in New Jersey.
The perfectly behaved, jacket-and-tie wearing boys of the choir walk on stage with their
commanding conductor and the school kids. As the choir begins singing -- especially the
soloist, DEVON -- everyone, except Stet, falls under their spell. And much to Steele’s
embarrassment, Stet walks out on the auditions annoying Carvelle. Stet returns home and
when two cops come to the front door, he assumes he’s been caught for doing something
wrong, but learns his mother has been killed in a car crash.
Stet attends his mother’s funeral, and meets GERARD OLIN, Stet’s wealthy father, a
man he never knew existed. He learns that Gerard has a family of his own – a wife,
SALLY, and two DAUGHTERS. They have no knowledge of Stet, and Gerard plans to
keep it that way.
Thanks to Steele’s advice, Gerard agrees to enroll Stet in the American Boy Choir School
and travel to New Jersey. Like other private boarding schools, it is expensive and
selective. The manicured lawns and ivy-colored buildings are a landscape that Stet has
never encountered before. But they meet resistance from Carvelle who remembers Stet’s
walking out on him and nixes enrolling him even after an impressive audition. But the
Headmaster realizes what a valuable resource Gerard’s deep pockets will be and allows
Stet to enroll over Carvelle’s objections that Stet doesn’t have the desire or discipline to
succeed.
Stet meets his new roommate RAFFI, who advises Stet about the rules of the new school.
No girls, no TV, no nothing. Faced with music theory and academic classes that are over
his head, Stet opts not to attend classes and he’s caught ditching. He is punished by
being put to work in the Administrative Office collating, while the rest of the boys play
soccer outside. While filing he finds Gerard’s phone number, which he calls, but hangs
up when one of the daughters answers. Matters get worse when one of the teachers, MR.
DRAKE, realizes that Stet can’t read music. Being at the school is becoming oppressive
to him. Raffi turns on him for using his high end stereo equipment. Stet’s never felt
more alone and sneaks out of the dorm planning to run away but, once on the road, he
realizes he has nowhere to go and heads back.
The next day, he butts up against DEVON, the lead soprano, but Stet finds a friend in
FERNANDO, an overweight boy who invites him to sit with him at lunch. Stet sees
Carvelle and envies the members of the “touring choir” who are allowed to hang out with
him. The touring choir members rule the school and get to travel the world.
Unfortunately, it is extremely competitive and since Stet can’t read music, it’s unlikely
that he will ever be chosen.
Stet’s biggest turning point comes after he sneaks into the school chapel and hears
Carvelle conduct the touring choir. Listening to the incredible power of the harmonies
makes him realize how important it is for him to succeed at this school. It’s in the chapel
that we see Carvelle’s passion for this kind of music and bringing the boys’ voices
together. We realize that he has a true genius at this work and how he breaks out of his
brittle shell when he conducts. Inspired, Stet asks Fernando to help him learn to read
music.
Raffi gets a place in Carvelle’s touring choir and they leave on a multi-city tour. While
they’re gone, Stet studies with Fernando. Fernando takes him into a department store and
they sing a duet to help Stet become accustomed to singing in public.
Stet starts getting noticed by Drake and WOOLEY, another teacher, as his skills improve.
They think that his voice could be strong enough to take them all the way to the prized
Easter concert at St. Patrick’s Cathedral. When they tell Carvelle, he brushes them off.
Carvelle returns and, despite his reservations he pays more attention to Stet and continues
to challenge him. Devon can’t help but notice Carvelle’s attention moving to Stet, and
undermines him at every turn. Carvelle finally agrees that Stet can try out for the touring
choir after the Thanksgiving break. With nowhere to go over the break, Stet stays at the
school and hides out in a boiler room where he practices in preparation for the tryouts.
Stet has a rocky tryout with Carvelle and thinks he’s failed, but when he returns to his
room, the blue jacket with its distinctive insignia is on his bed. What he doesn’t realize is
that Carvelle intends to pit Devon and Stet against each other to provoke better work
from both boys.
The choir goes on its spring tour and Stet impresses Carvelle enough to move from the
back row to the front row of singers, until he is standing next to Devon. The boys go to
New York to record an album and perform at Carnegie Hall. When Devon gets sick and
can’t perform, Carvelle takes a chance and gives the solo to Stet. When Stet is overcome
by stage fright, Carvelle coaches him by telling him that with Bach, “you’re a trumpet,
not a voice.” Even though Devon tries to sabotage the performance by stealing Stet’s
sheet music, Stet perseveres and has a remarkable debut, which is attended by Gerard and
his family. Someone sent tickets to them, but we don’t know who it is.
Stet’s half sisters approach him – oblivious to their relationship -- to tell him how
extraordinary he is. Gerard hangs back, uncomfortable with Stet’s gaze on him. After
the show, Stet is on cloud nine and he looks to Carvelle for approval, which is definitely
not forthcoming. Carvelle chastises him for missing notes. Stet reacts badly, getting in
Carvelle’s face and accusing him of not being there for his students, but only for the
music. After the encounter, Stet tells off Devon as well, who certainly had it coming.
Back at school, Carvelle learns that they’ve finally been selected to sing in the Easter
Concert at St. Patrick’s but his happiness is short-lived. The encounter between Stet and
his family, caused Gerard to panic that his secret will come out and he is precipitously
pulling Stet out of the school as a result. This leads to a confrontation between Gerard
and Carvelle, who threatens to tell Gerard’s wife about Stet’s existence. This is the first
time Carvelle defends Stet, or anyone. Gerard is forced to leave defeated – without Stet.
In preparation for the big concert, Carvelle shows his strictest side and pushes the boys
harder and harder to reach the “High g” note for “The Messiah”. He tells them that the
first boy to hit the note will sing lead treble. Devon and Raffi conspire to take Stet out
of the competition by humiliating him. They put up embarrassing posters of Stet’s
mother from her days working in a shady club. This puts Stet in a tailspin and he finally
physically attacks Devon.
At a disciplinary hearing, Carvelle comes to Stet’s rescue by threatening to expel both
Devon and Stet from the choir, keeping them from performing at St. Patrick’s. Rather
than risking the concert by expelling both boys, Stet is allowed to stay. Now, it’s a
question of which boy will get the solo in the Messiah. Both are singing at the height of
their talents. Both have hit the High G.
At the concert, Stet and Devon are standing side by side, but it’s Stet who is chosen by
Carvelle. He steps forward and triumphantly sings the solo as an enormously moved
Carvelle conducts and the choir receives a thundering ovation.
But Stet’s happiness is cut short because his voice unexpectedly cracks sometime after
his climactic success. When Stet goes to Wooly and Carvelle for guidance, he asks what
the point is if it’s all over so suddenly. Carvelle tells him, “the lessons are the point.”
Carvelle gives him a letter of recommendation, something he has never done for any
student before. He leaves the school with his head held high and walks toward a waiting
Gerard who has brought Sally with him. With everything finally out in the open, Sally
opens her arms to Stet as Carvelle watches from a window. Another boy has come in and
out of his life, but none that moved him as much as Stet.
BOYCHOIR
ABOUT THE PRODUCTION
“Celebrate yourselves.”
-- Dustin Hoffman as Choirmaster Carvelle in BOYCHOIR
From acclaimed director François Girard (THE RED VIOLIN) comes the inspirational
story of a rebellious kid with a remarkable gift who is challenged by a demanding teacher to
make the most unlikely of dreams come true.
A stellar ensemble -- including two-time Oscar® winner Dustin Hoffman, Oscar® Winner
Kathy Bates, two-time Emmy winner Eddie Izzard, three-time Oscar® nominee Debra Winger,
Josh Lucas (A BEAUTIFUL MIND) and Kevin McHale (“Glee”) -- headline a cast that also
introduces an exciting group of newcomers as the young singers who battle each other as they
take their boychoir to the competitive heights.
The rousing, music-filled tale begins with Stet (newcomer Garrett Wareing), who is
struggling just to get by in a tough Texas neighborhood with an overwhelmed single mom. His
school principal (Winger) is convinced his angelic singing voice is worth championing, but Stet
has no idea how it might help him face the dark realities of his life. That all shifts when a sudden
accident lands Stet on the East Coast at one of the most elite private boychoir schools in the
country, the National Boychoir Academy. It might be his only hope, but he knows he doesn’t fit
in. He’s never studied music, there’s not a single soul to support him and he’s filled with a
seething rage he can’t begin to express. Even worse, he immediately runs up against the most
demanding, uncompromising and compelling person he’s ever met: the school’s lauded, if
increasingly jaded, Headmaster Carvelle (Hoffman).
Yet, Stet’s inner grit brings forth an astonishing sound. And the more he sings, the more
Carvelle begins to see his passion growing – a passion that will impact not only Stet’s own life
but those around him. From Carvelle himself to his snobbish associate Drake (Izzard) to the
school’s down-to-earth headmistress (Bates) to the young teacher who fights for Stet (McHale)
to the estranged father who is trying to hide his very existence (Lucas) to Devon, the star singer
who is Stet’s fiercest rival (newcomer Joe West), Stet’s campaign to redeem himself begins to
catch everyone’s attention. At the same time, everyone knows no boy singer’s voice can last –
or survive adolescence. Change is coming, but with it, a lesson that endures: to make the
absolute most of what you’ve got in the moment.
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BOYCHOIR is directed by François Girard based on an original screenplay by Ben
Ripley and starring Dustin Hoffman, Kathy Bates, Eddie Izzard, Debra Winger, Josh Lucas,
Kevin McHale, Garrett Wareing, Joe West and River Alexander. The producers are Judy Cairo,
Carol Baum and Jane Goldenring. The executive producers are Michael A. Simpson, Eric
Brenner, Tim Haslam, Hugo Grumbar, Grant Guthrie, Ben Ripley, Darrel Casalino, Guirec van
Slingelandt, Rob van den Berg, Paul B. Loyd, Jr, Jeff Steen, Bob Westendarp, and Jarod
Becker. The film’s ethereal choral music is woven together with an original score by composer
Brian Byrne (ALBERT NOBBS) and a theme song “The Mystery of Your Gift” performed by
Grammy nominee and multi-platinum recording artist Josh Groban, which he co-wrote with
Byrne. The film was financed and produced by Informant Media (CRAZY HEART.)
STORY
The soaring, open-hearted treble pitch of pre-teen singing voices is here for a flash and
then it is gone – a reminder of the fleeting beauty of childhood and the profound power of time.
For centuries, the stunningly pure tones attained by boychoirs have been an artistic and spiritual
inspiration, but even now in the 21st Century, amidst a cacophonous landscape of electronic
sounds, the raw clarity of the human voice hits a chord within like no other.
It was that chord that seemed to universally draw a group of fervent performers – young
and old, new and legendary – to the production of BOYCHOIR. It all began with a script by Ben
Ripley, who, though perhaps best known for the sci-fi thriller SOURCE CODE, is also a classical
pianist with a deep musical background. When he first learned about boychoir schools where
kids make the most of golden voices in the fast-moving years before puberty hits, Ripley
couldn’t help but be intrigued by this rarely seen world where genius comes with an expiration
date. He was also drawn to the collision of today’s savvy, irreverent kids with such an ancient,
otherworldly art form. And most of all he saw a chance to hinge a redemption story around rich
themes of childhood, teaching, dreams, impermanence and the ever-changing rhythms of life.
Thus was born the fictional story of Stet, a most improbable entrant to boychoir school -and the choir master who, in spite of his steely, perfectionist nature, is moved to give him a
chance.
Producer Judy Cairo (CRAZY HEART) was shown Ben Ripley’s screenplay by
producers Carol Baum and Jane Goldenring, and Cairo then brought the script to a director
quite well known for his ability to bring musical stories to emotional life on the screen – the
French-Canadian stage, screen and opera director François Girard whose films include the
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innovative THIRTY TWO SHORT FILMS ABOUT GLENN GOULD and the Academy Award®winning drama THE RED VIOLIN. He was instantly taken by the story.
“I was presented the text by Judy Cairo without knowing anything much about it and
found myself really touched as I began reading,” recalls Girard. “It was a script full of truth and
many layers written by a very sensitive writer who is also a musician – which was so important
because music can be such a hard thing to reconcile with words. But Ben Ripley was able to
weave the two together.”
Girard was also drawn for another irresistible reason. “I was told that Dustin Hoffman
had already shown interest. He and I had talked about doing several projects through the years
that never happened so, for me, this was also an occasion to kill that frustration!” he laughs.
“But really, from the minute I read the script, I couldn’t help but have Dustin in mind for
Choirmaster Carvelle.”
The director also couldn’t help but be lured by the very concept of the ephemeral
boychoir – which mirrors not only how suddenly childhood vanishes but also how important it is,
at any age, in any realm of experience, to latch onto the opportunities in front of us.
“The transience of the boychoir is a reminder that on this journey of life we’re always
gaining something and losing something,” Girard observes. “Human beings tend to have a
static perception of our experiences but in reality, we are constantly changing, constantly
moving and evolving. And though we want to live with certitude, all of our certainties will get
smashed one way or another. These are things that are true for the boys singing in the choir in
this story -- but I think we all can relate to them.”
CAST
The film’s journey into a rarely seen world, its probing of musical passion and its story of
lost dreams reconciled quickly drew a cast of major screen presences in the adult roles. Girard
was gratified by their effusive response – and even more so by their steadfast commitment to
this indie production.
“I was moved by all the characters in Ben’s script, and through the efforts of actors of the
caliber of Dustin Hoffman, Kathy Bates, Eddie Izzard, Debra Winger, Kevin McHale and Josh
Lucas they really came to life, and we got the chance to watch them grow in new directions,”
Girard says. “I am so grateful to this cast.”
If the star-studded cast members, with their accumulation of awards and accolades,
were the grounding foundation for the film, it was finding the young actors in the boychoir where
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the casting had to soar. For Stet, as well as his main companions and rivals, the filmmakers set
out on a worldwide search, guided by casting director John Papsidera. The hunt for Stet ended
in Los Angeles, where the filmmakers discovered 12-year-old Garrett Wareing, a young actor
originally from College Station, Texas.
“It’s always scary to cast a 12 year-old,” admits Girard. “Very few have worked before,
so you can’t have any evidence other than the audition room -- which is not my favorite place
because it can be so misleading. But it was very quickly evident that Garrett had the significant
acting skills that were needed for Stet. He is unusually focused for someone his age. I was very
impressed with his intensity, and also his discipline, and I think it is the beginning of an exciting
journey for him as an actor.”
As production moved forward, Girard also began working closely with Hoffman on
developing Carvelle into a three-dimensional man full of human contradictions. The film legend
– a two time Oscar® winner and a seven time nominee – is known for bringing out the
vulnerability in characters, and though Carvelle comes on like an impervious powerhouse with
his students, he harbors doubts and regrets that Stet brings to the fore.
“The work with Dustin started with the text,” Girard explains. “We spent a lot of time
before production just working and talking and drinking tea. He was an incredible companion,
very supportive and highly dedicated. He had just shot a movie himself as a director – so I think
maybe he was feeling empathy for the difficulties of that role!”
They also began to deconstruct the character’s many facets. “Dustin at first questioned
why he should do this part,” Girard notes. “Carvelle starts out as a very harsh character, he’s
very tough with Stet, and he kind of antagonizes the audience. But with Dustin in the role I
always had the conviction that even in his toughness there would be that lovable quality. You
feel the warmth of Dustin’s heart always, and that makes a big difference with this kind of
character. He has that soulfulness that is part of his presence.”
It was also while working with Hoffman that Girard began to see the story in a new way.
Rather than simply the tale of a hardheaded teacher who comes to give a disadvantaged
student a chance –- it became equally the story of a young boy who sparks his mentor to reexamine his own life and inspirations before it’s too late.
“This whole idea of the boy saying to the master ‘your clock is ticking old man’ is one
that evolved in the late stages between Dustin and myself,” Girard explains. “Dustin and I grew
more and more interested in the reverse impact of Stet on Carvelle. That the master will teach
the apprentice is obvious but that master gets a lesson doing so is even more interesting.
Something has changed in Carvelle at the end of the story.”
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MUSIC
Musical talent abounded across the production, which features an original end title song
performed by Josh Groban – the classical vocalist who became one of the world’s biggest pop
stars -- written by Groban and the film’s composer, Golden Globe nominee Brian Byrne, who
composed the enchanting ALBERT NOBBS score.
But behind it all was the choral music. Every great composer has left his mark on this
genre, often perceived to reach the heights of musical beauty.
And though the sound is
sometimes associated with the Middle Ages or modern churches, choral voices have recently
seen a great resurgence, even becoming the subject of reality television shows.
For Girard, the stripped-bare human voice will always be something extraordinary. “I
think people love even instrumentalists like Yo-Yo Ma and Joshua Bell because they hear the
human voice in their playing,” he says. “When I’ve directed operas, some of the most joyful
rehearsals are when the chorus shows up and they launch themselves into vocal harmonies
that move me to tears. There is such an emotional power there.”
The sound of a boychoir takes that concept to its highest level. “While choosing the
music, I did a lot of research and listening – and I constantly found a purity that touches your
heart in a special way. I had to keep my listening sessions short because I would get so
emotional, so nostalgic. When you have the innocence of young children mixed with the soultouching vision of great composers, there’s no other experience like it,” Girard concludes. “So
this was the driving force for BOYCHOIR – those pure voices that pry your heart wide open.”
ABOUT THE CAST
DUSTIN HOFFMAN (Carvelle), a two-time Academy Award winner and seven-time
nominee whose arrival in Hollywood helped usher in a new and revitalized approach to
filmmaking, continues to add singular performances to a career rich with characters that
have obliterated the line previously dividing the archetypes of "character actor" and "leading
man."
Hoffman caught the world's attention for his role as Benjamin Braddock in Mike
Nichol's Academy Award nominated film, THE GRADUATE. Since then, he has been
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nominated for six more Academy Awards for diverse films such as MIDNIGHT COWBOY,
LENY, TOOTSIE (a film he also produced through his company, Punch Productions), and
WAG THE DOG. Hoffman won the Oscar in 1979 for his role in KRAMER VS. KRAMER and
again in 1988 for RAIN MAN. In 1997, he was awarded the Golden Globe's esteemed Cecil
B. DeMille Award.
Hoffman recently made his directorial debut with the feature film, QUARTET starring
Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon and
Sheridan Smith. The film was recognized by the National Board of Review for being one of
the “Top Ten Independent Films” in 2012. Hoffman was also awarded with the
“Breakthrough Director Award” by the Hollywood Film Awards. Additionally, Maggie Smith
was nominated for a Golden Globe Award and Billy Connolly was nominated for a British
Independent Film Award on behalf of the film. QUARTET grossed almost $60 million
worldwide. QUARTET was based on Ronald Harwood’s stage play of the same name.
Hoffman recently appeared Jon Favreau’s CHEF and wrapped production on
Dearbhla Walsh’s ESIO TROT opposite Judi Dench. The film is based on Roald Dahl’s
classic children’s book of the same name. Hoffman plays the role of ‘Mr. Hoppy,’ a retired
bachelor who harbors a secret passion for his neighbor, ‘Mrs. Silver’ (Dench), who
unfortunately lavishes all of her attention on Alfie, her pet tortoise. Additionally, Hoffman
recently wrapped production on the UNTITLED LANCE ARMSTRONG BIOPIC and THE
COBBLER.
In 2010, Hoffman starred opposite Paul Giamatti in BARNEY’S VERSION,
directed by Richard J. Lewis. The film premiered at the 2010 Venice Film Festival and was
released by Sony Pictures Classics. Hoffman also reprised his role as Bernie Focker in
LITTLE FOCKERS starring opposite Ben Stiller, Robert De Niro and Barbra Streisand.
Hoffman starred in LAST CHANCE HARVEY, a love story set in London, written
and directed by Joel Hopkins, and co-starring Emma Thompson. He received a Golden
Globe nomination for Best Performance by an Actor in a Motion Picture - Comedy or Musical
category for his role.
Hoffman lent his voice to the box office hit, KUNG FU PANDA. The film was
nominated for an Academy Award for Animated Feature Film of the Year and Hoffman
received the Annie Award for Voice Acting in an Animated Feature Production. He also
voiced the character of Shifu in KUNG FU PANDA 2.
Other film credits include: THE TALE OF DESPEREAUX, MR. MAGORIUM’S
WONDER EMPORIUM, STRANGER THAN FICTION, PERFUME, MEET THE FOCKERS,
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FINDING NEVERLAND, I HEART HUCABEE’S, THE LOST CITY, RACING STRIPES,
RUNAWAY JURY, LITTLE BIG MAN, STRAW DOGS, PAPILLON, ALL THE PRESIDENT’S
MEN, MARATHON MAN, STRANGE TIME, AGATHA, ISHTAR, DICK TRACY, BILLY
BATHGATE, MAD CITY, HERO, SLEEPERS, SPHERE, AMERICAN BUFFALO, HOOK,
and OUTBREAK.
On television, Hoffman starred in Michael Mann's and David Milch’s acclaimed
horseracing drama, "Luck" for HBO.
On stage, Hoffman has had an equally impressive career. His first stage role was
in the Sarah Lawrence College production of Gertrude Stein's "Yes is for a Very Young
Man." This performance led to several roles Off Broadway, such as "Journey of the Fifth
Horse," for which he won the Obie, and "Eh?", for which he won the Drama Desk Award for
Best Actor. His success on stage caught the attention of Mike Nichols, who cast him in THE
GRADUATE. In 1969, Hoffman made his Broadway debut in Murray Schisgal's "Jimmy
Shine." In 1974, Hoffman made his Broadway directorial debut with Schisgal's "All Over
Town." In 1984, Hoffman garnered a Drama Desk Award for Best Actor for his portrayal of
Willy Loman in the Broadway revival of "Death of a Salesman" which he also produced. In
addition to starring in the Broadway production, a special presentation aired on television
and Hoffman won the Emmy Award. Additionally, Hoffman received a Tony Award
Nomination for his role as Shylock in "The Merchant of Venice" which he reprised from his
long run on the London Stage.
As a producer, Hoffman produced Tony Goldwyn's feature film A WALK ON THE
MOON starring Diane Lane, Viggo Mortensen, Liev Schreiber and Anna Paquin. He
executive produced THE DEVIL’S ARITHMETIC which won two Emmy Awards.
Hoffman was born in Los Angeles and attended Santa Monica Community
College. He later studied at the Pasadena Playhouse before moving to New York to study
with Lee Strasberg.
Hoffman serves as the chair of the Artistic Advisory Board along with Mikhail
Baryshnikov and Plácido Domingo for the Eli and Edythe Broad Stage Theater, which
opened on September 20, 2008. This intimate 499-seat state-of-the-art theater provides a
much-needed performance facility for Santa Monica College and the surrounding
community.
Hoffman was honored at the 2012 Kennedy Center Honors. Hoffman was also
awarded the Honorary César Medal at the 2009 César Awards.
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KATHY BATES (Headmistress) has been honored numerous times for her work on
stage, screen and television. She won an Academy Award® and a Golden Globe for her
portrayal of obsessed fan Annie Wilkes in Rob Reiner’s 1990 hit MISERY, based on
Stephen King’s novel.
In 1999, she received Oscar®, Golden Globe and BAFTA
nominations and won a Screen Actors Guild (SAG) Award® and a Critics Choice Award for
her performance in Mike Nichols’ PRIMARY COLORS. Bates more recently earned her
third Oscar® nomination for her role in Alexander Payne’s ABOUT SCHMIDT, for which she
also garnered Golden Globe and SAG Award nominations and won a National Board of
Review Award for Best Supporting Actress. Her film work has also been recognized with
Golden Globe and BAFTA Award nominations for Jon Avnet’s FRIED GREEN TOMATOES,
and she also shared in a SAG Award® nomination with the ensemble cast of James
Cameron’s all-time, top-grossing blockbuster TITANIC as well as a nomination for the
ensemble of Woody Allen’s MIDNIGHT IN PARIS.
Bates appeared most recently on FX winning rave reviews as the deliciously evil
Madame LaLaurie in the third season of Ryan Murphy’s “American Horror Story, AHS:
Coven.” Prior to that she starred for two seasons as Harriet ‘Harry’ Korn, a curmudgeonly
ex-patent lawyer in David E. Kelly’s hit NBC television show “Harry’s Law” garnering her an
Emmy® nomination for lead actress in a drama series.
Recently, Bates was seen in TAMMY with Melissa McCarthy, VALENTINE’S DAY;
THE BLIND SIDE; Stephen Frears’ period drama CHERI, in which she starred with Michelle
Pfeiffer; Sam Mendes’ acclaimed drama REVOLUTIONARY ROAD, which reunited her with
Leonardo DiCaprio and Kate Winslet; the sci-fi remake THE DAY THE EARTH STOOD
STILL, which opened at the top of the box office; and the independent drama PERSONAL
EFFECTS, with Pfeiffer and Ashton Kutcher, as well as the animated short CADAVER.
Upcoming projects include THE GREAT GILLY HOPKINS with Danny Glover and Octavia
Spencer.
Among Bates’ long list of film credits are P.S. I LOVE YOU, FRED CLAUS, FAILURE
TO LAUNCH, LITTLE BLACK BOOK, DRAGONFLY, AMERICAN OUTLAWS, THE
WATERBOY, THE WAR AT HOME, DOLORES CLAIBORNE, A HOME OF OUR OWN,
PRELUDE TO A KISS, SHADOW AND FOG, AT PLAY IN THE FIELDS OF THE LORD,
DICK TRACY, MEN DON’T LEAVE, COME BACK TO THE FIVE AND DIME, JIMMY DEAN,
JIMMY DEAN, STRIAGHT TIME, and TAKING OFF. Bates lent her voice to Jerry Seinfeld’s
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animated comedy BEE MOVIE, as well as CHARLOTTE’S WEB and THE GOLDEN
COMPASS.
On television, in addition to her current projects, Bates appeared in the FX miniseries
ALICE, playing the Queen of Hearts, for which she earned an Emmy® Award nomination for
her performance. She won a Golden Globe and a SAG Award® and earned an Emmy®
Award nomination for the 1996 HBO film THE LATE SHIFT. Her television honors also
include Emmy®, Golden Globe and SAG Award® nominations for her performance in the
musical ANNIE; another SAG Award® nomination for her role in the telefilm MY SISTER’S
KEEPER; and four additional Emmy® Award nominations for her work on the projects “3rd
Rock from the Sun,” “Six Feet Under,” “Warm Springs,” and “Ambulance Girl,” which she
also directed. More recently, she guest starred on both “The Office” and “Two and a Half
Men”, winning her first Emmy® award for her work on the latter. She also guest starred on
“Mike & Molly”.
Bates has also been honored for her work behind the camera as a director. She
helmed the A&E telefilm “DASH AND LILLY,” starring Sam Shepard and Judy Davis, which
earned nine Emmy® nominations, including one for Bates as Best Director.
She also
directed five episodes of the acclaimed HBO series “Six Feet Under,” earning a Directors
Guild of America Award for the episode entitled “Twilight.” Her directing credits also include
episodes of such series as “Oz,” “NYPD Blue” and “Homicide: Life on the Street.”
Bates first gained the attention of critics and audiences on the New York stage. She
was nominated for a Tony Award for her portrayal of the suicidal daughter in the original
Broadway production of Marsha Norman’s Pulitzer Prize-winning play “`night, Mother.” She
has been honored with Obie Awards for her performance as Frankie in the original offBroadway production of “Frankie and Johnny in the Clair de Lune” as well as for her
portrayal of Elsa Barlow in Athol Fugard’s “The Road to Mecca,” which Kathy also starred in
when filmed.
Born in Memphis, Tennessee, Bates received a Bachelor of Fine Arts degree in 1970
from Southern Methodist University, which awarded her an honorary doctorate in 2002.
EDDIE IZZARD (Drake), already one of the most acclaimed comics of his
generation, is developing an equally stellar reputation as a film, television and stage actor.
In 2013, Izzard embarked on the “Force Majeure World Tour” around the
globe. From Cardiff to Kathmandu, Moscow to Mumbai, “Force Majeure” will play
throughout Europe, Africa, Russia, the U.K., Canada, India, Nepal, the Far East, and
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Australia. This year, Izzard completed runs in France performing entirely in French and in
Berlin performing entirely in German. He also brought the “Force Majeure” tour to the
United States and visited 32 cities.
Izzard’s bizarre, tangential, absurd, and surreal comic narratives are lauded for their
creativity and have earned him top awards from Time Out and the Perrier Panel. He won
the British Comedy Award for Top Stand-Up Comedian in 1993 and 1996, and his
performance in “Dress to Kill” earned him a New York Drama Desk Award and two
Emmys®. In 2010, “Believe: The Eddie Izzard Story” received an Emmy® Award
nomination. The original documentary, culled from thousands of hours of footage,
documents his early influences and rise to fame.
Izzard made his West End stage debut in 1993 in his one-man show “Live at the
Ambassadors”, in which he received an Olivier Award nomination for Outstanding
Achievement. “Live at the Ambassadors” was followed by a succession of criticallyacclaimed shows including “Unrepeatable”, “Definite Article”, “Glorious”, “Dress to Kill”, and
“Circle”. His other stage appearances include David Mamet's Race and “The Cryptogram”,
the title role in Marlowe's “Edward II”, “900 Oneonta”, and “A Day in the Death of Joe Egg” in
London and on Broadway, which won him a handful of awards, including a Tony nomination
for Best Actor.
On television, Izzard starred in and served as a producer on the critically acclaimed
FX Networks series, “The Riches”, opposite Minnie Driver. His other television credits
include the NBC special “Mockingbird Lane”, IFC’s six part series “Bullet in the Face”, Syfy
Channel’s buccaneer classic “Treasure Island” as Long John Silver opposite Elijah Wood,
and as a guest star in the final season of Showtime’s “United States of Tara”.
Izzard became the first solo stand-up comedian to appear at the Hollywood Bowl in
2011 in his hugely successful show “Eddie Izzard: Stripped to the Bowl”. In April 2008, he
embarked on the “Stripped” tour and performed in 34 cities across the United States,
including three nights at New York's legendary Radio City Music Hall. Upon his return to the
UK, he broke box office records by selling out a five week tour in the London's West End in
less than forty-eight hours. The “Stripped” tour returned to the US for a run of arenas. In
September 2012, Izzard released his latest DVD, “Eddie Izzard: Live at Madison Square
Garden”, a recording of his brilliant sold out show.
Other highlights from Izzard’s film career include VALKYRIE opposite Tom Cruise,
Steven Soderbergh's caper, OCEAN’S THIRTEEN and OCEAN’S TWELVE opposite
George Clooney and Brad Pitt, Julie Taymor's ACROSS THE UNIVERSE, EVERY DAY
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opposite Liev Schreiber and Helen Hunt, ROMANCE AND CIGARETTES, produced by the
Coen Brothers and directed by John Turturro, BLUEBERRY, alongside Kenneth Branagh
and Zoe Wanamaker, Peter Bogdanovich's THE CAT’S MEOW, THE AVENGERS with
Sean Connery, VELVET GOLDMINE with Ewan McGregor, ALL THE QUEEN’S MEN, THE
REVENGER’S TRAGEDY, and SECRET AGENT. He also lent his voice to the Disney’s
animated feature CARS 2 opposite Owen Wilson, MGM’s IGOR, Disney's FIVE CHILDREN
AND IT, and THE WILD.
In 2009, Izzard ran 1,100 miles through England, Wales, North Ireland and Scotland
for charity and raised almost $2 million for Sports Relief, which helps the less fortunate in
Britain and poor countries worldwide.
DEBRA WINGER (Ms. Steel) is acknowledged as one of the silver screen’s finest
actresses. Her leading roles in TERMS OF ENDEARMENT, AN OFFICER AND A
GENTLEMAN and SHADOWLANDS all garnered her Oscar® nominations. Winger received
critical acclaim and an Independent Spirit Award nomination for her pivotal role in Jonathan
Demme’s drama RACHEL GETTING MARRIED.
Though Winger made her feature film debut in THANK GOD IT’S FRIDAY, it was her
stunning breakthrough performance opposite John Travolta in James Bridges’ URBAN
COWBOY that brought her to the world’s attention. Bridges became Winger’s mentor and,
after she starred alongside Nick Nolte in CANNERY ROW, they teamed up again for the
thriller MIKE’S MURDER.
Soon thereafter, the actress earned her first Oscar nomination with her performance
opposite Richard Gere in AN OFFICER AND A GENTLEMAN. Winger’s second nomination
came for her funny and heartbreaking portrayal as Emma in TERMS OF ENDEARMENT
(1983). She was nominated for a Golden Globe® Award for her role in 1993’s A
DANGEROUS WOMAN. That same year, she received a third Academy Award nomination
for her performance in Richard Attenborough’s SHADOWLANDS.
Other film credits include Bernardo Bertolucci’s THE SHELTERING SKY, with John
Malkovich; LEAP OF FAITH, opposite Steve Martin; FORGET PARIS, with Billy Crystal;
WILDER NAPALM, alongside Dennis Quaid; and LOLA VERSUS opposite Greta Gerwig.
Winger produced and co-starred in 2001’s BIG BAD LOVE, a drama written and directed by
her husband Arliss Howard.
Winger garnered an Emmy nomination for the title role in Lifetime’s true story “Dawn
Anna.” She also received critical acclaim for her work on the third season of HBO’s “In
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Treatment.” Winger has appeared on stage in such productions as “How I Learned to Drive”
and “Ivanov” at the A.R.T. She toured with Michael Tilson-Thomas and the New World
Symphony. She made her Broadway debut in 2012 in David Mamet’s “The Anarchist”.
JOSH LUCAS’ (Gerard) film career began by accident in 1979 when a small
Canadian film production shot on the tiny coastal South Carolina Island, Sullivan’s Island,
where Lucas and his family lived. Unbeknownst to the filmmakers, 8-year-old Lucas was
hiding in the sand dunes watching filming during the climactic scene where teenage lovers
engage in a lovesick fight. It was during this experience that Lucas decided to pursue a
career in film, which he has now done for nearly three decades.
Born to young radical politically active parents in Arkansas in 1971, Lucas spent
his early childhood nomadically moving around the southern U.S. The family finally settled in
Gig Harbor, Washington, where Lucas attended high school. The school had an award
winning drama/debate program and Lucas won the State Championship in Dramatic
Interpretation and competed at the 1989 National Championship. Brief stints in professional
theater in Seattle followed before Lucas moved to Los Angeles. After receiving breaks
playing a young George Armstrong Cuter in the Steven Spielberg produced CLASS OF ’61
and Frank Marshall’s film ALIVE, Lucas’ career toiled in minor television appearances.
Frustrated, he decided to start over and relocated to New York City.
In New York, Lucas studied acting for years under Suzanne Shepherd and
worked in smaller theater productions like “Shakespeare in the Parking Lot” before receiving
another break in 1997 when he was cast as Judas in Terrence McNally’s controversial offBroadway production “Corpus Christi.” The play led to his being cast in the films YOU CAN
COUNT ON ME and AMERICAN PSYCHO. These films were followed by interesting
performances in the Oscar winning A BEAUTIFUL MIND and the box office hit SWEET
HOME ALABAMA. After this, Lucas gave strong performances in films for the next few years
such as Ang Lee’s HULK, David Gordon Green’s UNDERTOW, SECONDHAND LIONS,
WONDERLAND and Lasse Hallstrom’s AN UNFINISHED LIFE. In 2005, Lucas gained
nearly 40 pounds to play legendary basketball coach Don Haskins in the Jerry Bruckheimer
produced GLORY ROAD. Lucas followed this up by making his Broadway debut in
Tennessee Williams’ “The Glass Menagerie.” The unexpected box office performances
of STEALTH and POSEIDON forced Lucas to take time and refocus on his original passion
for smaller projects and producing films. Lucas’ first producing project, the intensely
personal Boaz Yakin film, DEATH IN LOVE, was released in 2009.
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In the past few years, Lucas has appeared in THE LINCOLN LAWYER,
DAYDREAM NATION, PEACOCK, as Charles Lindbergh in Clint Eastwood’s film J.
EDGAR, and in the massive Australian Box office and critical success RED DOG for which
Lucas won Australia’s best actor award (the I.F. Award). He also played Beat generation
legend Neal Cassady in BIG SUR.
Lucas can most recently be seen in Sara Colangelo’s LITTLE ACCIDENTS,
which had its world premiere at the Sundance Film Festival in January 2014. He will next be
seen starring in NBC’s new mystery series, “The Mysteries of Laura” opposite Debra
Messing, which will premiere this year. He will portray the role of Captain Jake
Diamond, Laura’s (Messing) soon-to-be ex-husband, her new boss, and the father of her
two trouble-making twin boys. Also in 2014, Lucas will star in Kevin Connelly’s DEAR
ELEANOR and John Magary’s New York independent film, THE MEND.
Lucas has always remained fascinated by documentaries and over the past few
years, has done voice work for film legend Ken Burns on the THE WAR, THE NATIONAL
PARKS: AMERICA’S BEST IDEA, PROHIBITON and a number of Burns’ other films. He
was involved in the Oscar nominated OPERATION HOMECOMING and appeared in the
National Board of Review’s award winner TRUMBO, the Los Angeles Film Festival’s award
winner RESOLVED and Barry Levinson’s documentary POLIWOOD.
Other theater credits include the award winning off-Broadway production “Spalding
Gray: Stories Left Untold” and “Faultlines”.
Lucas currently resides in New York City.
KEVIN MCHALE (Wooly) stars as the loveable wheelchair-bound Artie Abrams in
FOX’s award winning show “Glee.”
Born in Plano, Texas, triple threat Kevin moved to Los Angeles as a young teenager
to pursue his career in acting, singing, and dancing. Television credits include guest starring
on this past summer’s revival of “Whose Line is it Anyway?” where Kevin went toe to toe
with the original cast. He also guest starred on “True Blood,” “The Office,” and hosted the
Teen Choice Awards.
Kevin also loves fashion and is repeatedly singled out his bold sense of style.
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GARRETT WAREING (Stet), from an early age, has had a love for the arts. As an
accomplished artist, painter and sculptor, he was encouraged to pursue his passion by his
supportive parents. Through the guidance of Heidi Amestoy, his middle school drama
teacher, his love for acting soon evolved into more than a hobby; she opened up a new
world for him.
After a meeting with famed talent scout Nikki Pederson of Nikki Pederson Talent,
Garrett accepted an offer to enroll in IMTA 2013 where he earned numerous awards,
including 2013 Pre-Teen Male Model of the Year, as well as garnering the attention of a
significant number of agents in Hollywood. Nikki has been instrumental in the guidance of
Garrett's career and has made a profound impact on his life. At the age of 11, he moved
from his hometown of College Station, Texas, along with his sister, actor Mackenzie
Wareing and brother, Mason, to Los Angeles to pursue his dream of acting.
Once in Los Angeles, renowned acting coach Max Decker of CM Acting Studio
molded, honed and sharpened his skills, instilling in Garrett the discipline to work daily
toward the development of the craft. It was through Max that Garrett continues to further
develop his skills. BOYCHOIR marks his feature film debut.
ABOUT THE CREW
FRANÇOIS GIRARD (Director) gained notoriety as much for his filmmaking as for
his staging of operas and theater plays.
In 1993, his feature film THIRTY TWO SHORT FILMS ABOUT GLENN GOULD
would go on to garner international success including four top Genie Awards. Five years
later he directed THE RED VIOLIN, featuring Samuel L. Jackson, which received an
Academy Award for best original score and enshrined Girard as an important player on the
international movie scene. The film also won eight Genie Awards and nine Jutra Awards.
SILK, which he directed, was adapted from Alessandro Baricco’s best-selling book, and was
released worldwide in 2007. The cast includes Michael Pitt, Keira Knightley, Alfred Molina,
Miki Nakatani and Koji Yakusho. SILK received four Jutra Awards.
Girard’s 1994 concert film PETER GABRIEL’S SECRET WORLD became a best
selling film and earned him a Grammy Award. A few years later he directed one of the six
episodes of the internationally acclaimed series YO-YO MA INSPIRED BY BACH.
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In 1997, François Girard made his opera directorial debut with OEDIPUS REX /
SYMPHONY OF PSALMS by Stravinsky and Cocteau which received numerous awards
and was named by The Guardian “the best theatrical show of the year. Other opera works
include LOST OBJECTS for the Brooklyn Academy of Music; Wagner’s SIEGFRIED; THE
FLIGHT OF LINDBERGH / SEVEN DEADLY SINS from Kurt Weill and Bertolt Brecht; as
well as Kaija Saariaho's ÉMILIE. His most recent opera work is PARSIFAL which earned
him and the Metropolitan Opera Company a remarkable critical success.
For the stage, Girard also directed Alessandro Barrico’s NOVECENTO; Kafka’s
TRIAL and Yasushi Inoue’s HUNTING GUN. He is currently working on a new production of
WAITING FOR GODOT.
Girard is a three-time winner of the much-coveted Herald Angel Award for Best
Production at the Edinburgh Festival.
In recent years, Cirque du Soleil’s commissioned Girard to write and direct ZED, their
first permanent show in Tokyo; and ZARKANA which opened at Radio City Music Hall,
played at the Kremlin Theatre and has become a resident show in Las Vegas.
To date, François Girard’s accomplishments have earned him over one hundred
international awards and public acclaim the world over.
BEN RIPLEY (Screenwriter) grew up in Lawrenceville, New Jersey. A graduate of
Stanford University and the University of Southern California’s School of Cinema-Television,
he sold his first feature screenplay in 2002. Since then he has worked primarily in the
genres of thriller and science fiction. His credits include SOURCE CODE, SPECIES III and
SPECIES: THE AWAKENING. He is currently writing FLATLINERS and BLACKSMITH, both
for Sony Pictures, SOURCE CODE II for Vendome Pictures, EMPIRE for the Mark Gordon
Company and THE SEVENTH DAY for the Dino De Laurentiis Company.
JUDY CAIRO (Producer) is partners with Michael A. Simpson and Eric Brenner in
Informant Media. The company develops, finances, and produces independent feature films.
Cairo’s first feature film for Informant, CRAZY HEART, was one of the surprise hits of
2009/2010. Based on the novel by Thomas Cobb, the film starred Jeff Bridges, Colin Farrell,
Maggie Gyllenhaal, and Robert Duvall and represented the directorial debut of Scott
Cooper, who also wrote the screenplay.
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Released by Fox Searchlight, it won two Academy Awards® (Best Actor, Jeff
Bridges and Best Original Song “The Weary Kind” written by T Bone Burnett & Ryan
Bingham), two Golden Globes for the same, as well as the Independent Spirit Award for
Best First Feature and Best Actor.
Cairo and her Informant partners arranged financing for the film, and she was the
hands-on Producer. She discovered the script for CRAZY HEART and shepherded the film
from pre-production through distribution.
Cairo and Informant produced HYSTERIA, a romantic comedy starring Maggie
Gyllenhaal, Hugh Dancy, Rupert Everett and Jonathan Pryce. The film, directed by Tanya
Wexler, was shot in London and Luxembourg. HYSTERIA premiered at the Toronto
International Film Festival and the Rome International Film Festival in 2011. The film was
released by Sony Pictures Classics in 2012.
In 2011, Cairo produced ERASED for Informant, an action/thriller starring Aaron
Eckhart, Liana Liberato, and Olga Kurylenko, which was filmed in Brussels and Montreal.
The film was released under a Weinstein Company label in 2013.
Cairo produced STUCK IN LOVE, a comedy drama starring Oscar nominee Greg
Kinnear, Oscar winner Jennifer Connelly, Lily Collins, Logan Lerman and Kristen Bell. It
was the first feature film for Writer/Director Josh Boone (THE FAULT IN OUR STARS),
whom she discovered. STUCK IN LOVE premiered at the 2012 Toronto International Film
Festival and was theatrically released in 2013.
Recently, Cairo produced the true crime thriller KIDNAPPING FREDDY HEINEKEN,
starring Anthony Hopkins, Sam Worthington, Jim Sturgess and Ryan Kwanten, which will be
released theatrically in 2015.
Previously, Cairo produced 20 made-for-television films including the acclaimed fourhour mini-series “Elvis,” starring Jonathan Rhys Meyers for which he won a Golden Globe;
and the Emmy-nominated biopic “Gleason,” the story of the TV legend.
CAROL BAUM (Producer) develops and produces motion picture and television
projects.
In 2014, Baum produced ZAPPED, starring Zendaya, which premiered on Disney
Channel June 27th to glowing numbers.
In 2008, Baum produced FIVE DOLLARS A DAY, starring Christopher Walken,
Alessandro Nivola, Sharon Stone, and Amanda Peet; directed by Nigel Cole (MADE IN
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DAGENHAM). In 2007, Baum produced YOU KILL ME, starring Ben Kingsley, Téa Leoni,
and Luke Wilson; directed by John Dahl and released by IFC.
In 2005, Baum produced SEXUAL LIFE directed by Ken Kwapis (“The Office”). In
2003, she produced CAROLINA, which was directed by Marleen Gorris (ANTONIA’S LINE)
and written by Katherine Fugate (VALENTINE’S DAY). The movie stars Julia Stiles,
Alessandro Nivola and Shirley MacLaine. THE GOOD GIRL was released in August 2002 by
Fox Searchlight to outstanding reviews and four Independent Spirit Award nominations.
Directed by Miguel Arteta (CEDAR RAPIDS), from a screenplay by Mike White (SCHOOL
OF ROCK), the film stars Jennifer Aniston, Jake Gyllenhaal, John C. Reilly, and Zooey
Deschanel. Paramount Classics released MY FIRST MISTER in November 2001. Written by
Jill Franklyn, the movie opened the 2001 Sundance Film Festival. The film stars Leelee
Sobieski, Albert Brooks, and John Goodman. Christine Lahti, who won an Oscar for her
short film, LIEBERMAN IN LOVE, directed.
Baum executive produced SNOW FALLING ON CEDARS from the best-selling book
by David Gutterson. Scott Hicks (SHINE) directed Ethan Hawke in Ron Bass’ adaptation.
Kathleen Kennedy produced for Universal who released the film Christmas 1999. Robert
Richardson, the film’s cinematographer, was nominated for an Academy Award for his work.
Baum entered the world of television with “Tourist Trap”, written by Andy Breckman
(“Monk”), directed by Richard Benjamin and starring Daniel Stern. It aired on the Wonderful
World of Disney on ABC in the spring of 1999.
Baum is currently developing many hour-long television series. “Double Life”, from a
Belgian format, has been set up at New Regency and 20th Century Fox, and is the story of a
man who has been carrying on with two women who discover one another after he dies in
an accident.
Baum teaches Script Development and Producing to graduate students at the
American Film Institute Conservatory. Before that, she taught at Peter Stark Producing
Program at U.S.C.’s School of Cinema. She is part of the Women in Film mentoring group.
Baum was the President of Sandollar Productions for ten years, where she produced
such hits as FATHER OF THE BRIDE and its sequel, in addition to the Academy Award
winning HBO documentary COMMON THREADS: STORIES FROM THE QUILT, and the
quadruple Ace Award-winning HBO Showcase presentation TINY ENDINGS, written by and
starring Harvey Fierstein.
Her features with Sandollar include: IQ with Meg Ryan, Walter Matthau, and Tim
Robbins, directed by Fred Schepisi; JACKNIFE starring Robert DeNiro; TRUE IDENTITY,
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BUFFY THE VAMPIRE SLAYER, GROSS ANATOMY, SHINING THROUGH starring
Michael Douglas and Melanie Griffith; and STRAIGHT TALK with Dolly Parton. KICKING
AND SCREAMING, Noah Baumbach’s first film, which she executive produced, won rave
reviews following its opening at the New York Film Festival in the fall of 1995.
Prior to joining Sandollar, Baum was executive producer of David Cronenberg’s
DEAD RINGERS. She was also a studio Vice-President at Twentieth Century Fox and
Lorimar. Additionally, she developed Taylor Hackford’s AN OFFICER AND A GENTLEMAN
and David Cronenberg’s THE DEAD ZONE.
Her roots are in New York City where she spent her early career in publishing,
working for both Bantam Books and Random House and scouting for the English publisher
Corgi. Her first movie job was at Edgar Scherick’s company, Palomar Pictures, where she
developed Ira Levin’s THE STEPFORD WIVES. Also in New York, at The Producer’s
Circle, she developed the film versions of two best-selling novels: Stephen King’s The
Shining and Ira Levin’s The Boys From Brazil.
JANE GOLDENRING (Producer) is the President of Goldenring Productions, where
she is developing and producing projects for both film and TV.
She recently executive produced ZAPPED – a movie for the Disney Channel starring
Zendaya, which aired in June 2014.
She was the Executive Producer on another Disney Channel movie, RADIO REBEL,
which aired in Spring of 2012 and won a Humanitas Award. Other TV movies she Executive
Produced include Lifetime movies FATAL DESIRE, HEART OF A STRANGER, ON THE
SECOND DAY OF CHRISTMAS and I DO BUT I DON’T. For ABC Family, she ExecProduced PIZZA MY HEART and for The Hallmark Channel, GROWING THE BIG ONE.
She also produced the Independent movies MY FIRST MISTER directed by
Christine Lahti and starring Albert Brooks and FIVE DOLLARS A DAY directed by Nigel
Cole and starring Christopher Walken. MY FIRST MISTER was the opening night premiere
at the Sundance Film Festival in 2001. FIVE DOLLARS A DAY premiered at the Toronto
International Film Festival in 2008.
From 1998 to 2000, Ms. Goldenring had a first look deal for television movies with
von Zerneck/Sertner Films. Prior to that, from 1996-1998, she had a first-look deal in TV
and Film at Walt Disney Studios. For eleven years, she was a production executive at
Disney.
From 1992 to 1996 she served as Senior Vice-President, Production, for
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Touchstone Pictures, involved in all phases of the development and production of motion
picture projects.
She began her motion picture industry career in 1986 as a creative executive at
Disney.
In that capacity, she was involved in the production of ADVENTURES IN
BABYSITTING, BIG BUSINESS, and COCKTAIL, and the development of THE LITTLE
PRINCESS and “THE FISHER KING, among others. As a Vice President and Sr. VP she
supervised the productions of WHITE FANG, THE ROCKETEER, CAPTAIN RON, MY
FATHER THE HERO, starring Gerard Depardieu, THE REF starring Denis Leary and Judy
Davis; “SIMPLE TWIST OF FATE with Steve Martin; the Merchant Ivory productions
JEFFERSON IN PARIS and FEAST OF JULY, LAST DANCE starring Sharon Stone and
directed by Bruce Beresford; and PHENOMENON starring John Travolta and directed by Jon
Turteltaub.
Before joining Disney, Ms. Goldenring was based in Washington, D.C. where she
worked as an Account Executive for MNA, Inc., an advertising and documentary film
production company. Prior to MNA, she worked for five years as a legislative assistant to
U.S. Senator Christopher J. Dodd and on the legislative staff of the Democratic Study
Group.
Ms. Goldenring has recently been an adjunct professor in the graduate film department
at Chapman University and also taught an Advanced Producing Seminar at USC’s Graduate
School of Cinematic Arts from Fall 2011 to Spring 2013. She has also lectured at AFI and
UCLA.
Ms. Goldenring received her B.A. degree from Wesleyan University in 1977,
graduating cum laude with majors in Government and English. She is a former Member of the
Board of Women in Film. She is a Member of the Producers Guild and the Academy of
Television Arts and Sciences.
DAVID FRANCO (Cinematographer), born in France, was raised in Zaire where his
father worked as a theatre director. After completing his schooling, Franco moved to
Montreal to study communications at the University of Quebec, specializing in photography,
planning to work as a war photographer. Instead he started his own production company
where he produced over 200 music videos, Cinoque film became the front for the emerging
video clip in Quebec and Canada and nurture director that are today directing feature film:
Alain Derocher , Lyne charlebois, Podz (Daniel Grou).
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David also came up in the Commercial world in Canada as a cinematographer. But it
was in the long form world of feature films for release and for television that was his
true passion. David has worked with many great directors over the years having done many
of his early films with David Wellington including their film A MAN IN UNIFORM, which was
showcased at the Cannes Film Festival in the Director’s Fortnight (and won Best
Cinematography Award at the 38th Festival of Valladolid). But it was his collaboration with
Yves Simoneau on the feature FREE MONEY that began one of David’s most important
director collaborations. David’s collaboration with Yves continued INTENSITY and 44
MINUTES: THE NORTH HOLLYWOOD SHOOTOUT. However, it was their collaboration
on the HBO original film BURY MY HEART AT WOUNDED KNEE in which they created
an iconic film about the Native American Indian struggle, which led to David winning
the Emmy Award for his beautiful camera work.
Another Director that David Franco is known to have had a great collaboration with is
Charles McDougall. They teamed up on the television pilot of “Desperate Housewives” for
ABC, which became not only a massive American hit television series, it became a hit
around the world.
Over the years, David has shot many interesting films in all genres. However, two
films seem to really stand out. The intense action thriller with some very funny moments,
3000 MILES TO GRACELAND, directed by Damien Lichtenstein starring Kevin Costner, and
the big comedy hit THE WHOLE NINE YARDS directed by Jonathan Lynn starring Bruce
Willis. David has many other interesting movies. But it is the collaboration with directors
such as Sidney Furie, David Bezmozgis, Russell Mulcahey, and Marc S. Grenier and many
others that he is most proud of.
Most recently David Franco shot the pilot THE BRIDGE with Feature Director
Gerardo Naranjo for F/X. David has also lately been known for his outstanding work on
series BOARDWALK EMPIRE for HBO. He has also been shooting incredible images for
the massive HBO hit series GAME OF THRONES. David has received six ASC Award
nominations for BURY MY HEART AT WOUNDED KNEE, INTENSITY, FALLING FOR
YOU, MLLION DOLLAR BABIES, and twice for BOARDWALK EMPIRE. David is continually
striving to find the next interesting project, and is always trying to push the envelope in an
artistic manner.
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GAÉTAN HUOT (Editor), born in Hull, Québec, Huot worked at CBC/Radio-Canada
in Ottawa before he moved to Montréal to pursue his dream of editing. In the mid 80's he
met François Girard and other artists doing conceptual and art shorts, video clips and
commercials.
Huot then cut Girard’s first feature CARGO and later THIRTY TWO SHORT FILMS
ABOUT GLENN GOULD, for which he won a Genie award (Academy of Canadian Cinema
& Television) for best editing. Huot then edited THE RED VIOLIN which he describes as a
great adventure in editing. Huot was nominated for a Genie award for the film for best
editing and won a Jutra Award from the Quebec-based Prix Jutra committee. Huot has more
than 40 feature films to his credit in drama, comedy and action genres.
BRIAN BYRNE (Composer), Golden Globe nominated composer, moved to Los
Angeles from Ireland in July 2003 to expand his career as a film and television composer.
Since then, Brian has consistently worked as a composer, conductor, songwriter, arranger
and pianist – in the US and in Europe. Brian recently won two World Soundtrack Awards for
his music to the song and score for the movie ALBERT NOBBS.
From huge orchestral scores to minimal ensemble compositions, Brian has written
music for films in many genres. He won the Irish Film and Television Award for his original
score for the Irish Sci-Fi comedy ZONAD, directed by John Carney. He then scored the indie
drama THE GOOD DOCTOR, starring Orlando Bloom and wrote the score to the Oscar
nominated movie ALBERT NOBBS starring Glenn Close. Brian’s previous film work includes
conducting and arranging the scores to Jim Sheridan’s Oscar-nominated IN AMERICA and
Kirsten Sheridan’s drama, DISCO PIGS.
Brian has just completed composing the music to “Heartbeat of Home” a new show
from the producers of Riverdance, featuring Paddy Moloney, Carlos Nunez, The RTE
Concert Orchestra, Jessica Sanchez and guests. It is about to tour North America in 2014.
In spring of 2014 Brian composed the score to THE PRICE OF DESIRE a biopic
about Eileen Gray the famous Irish designer and also JENNY’S WEDDING starring Tom
Wilkinson and Katherine Heigl.
Brian has collaborated with such international luminaries as Katy Perry, Bono,
Barbra Streisand, Pink, Lisa Stansfield, Van Morrison, Alanis Morissette, The Corrs, Sinead
O’Connor, Alan Bergman, Ronan Tynan, Luis Miguel, Vince Gill, Gladys Knight, to name a
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few. He arranged a song for SEX AND THE CITY 2 and played piano on Liza Minnelli’s
cover of Beyonce’s “Single Ladies (Put a Ring on it).”
Brian’s American conducting debut came in 2004 at Carnegie Hall. He was
commissioned to write all the arrangements and conduct the Royal Philharmonic Orchestra
for the release of Ronan Tynan’s first solo album. He continued on as Musical Director for
Ronan’s Tour and subsequently wrote two original compositions for the album, “Ellie and
Passing Through”.
As musical Director for the BBC Beautiful Night concert, he conducted the Ulster
Orchestra with artists Jamie Cullum, Bob Geldof, Neil Hannon (The Divine Comedy), Hot
House Flowers, Ronan Keating (Boyzone), Brian Kennedy and Alanis Morissette,
performing for 10 million people during a live telecast throughout Ireland, the U.K. and
Europe.
Brian was educated at the Royal Scottish Academy of Music and Drama. He
graduated in 1997 with first-class honors in music and was awarded The Peter Knox
Memorial Award for overall performance. Later that year he received the Outstanding
Musicianship Award from Berklee College’s touring faculty in Scotland as well as winning
the PRS Sir Arthur Bliss Prize Scholarship for composition that enabled him to study film
composition at London’s Royal College of Music. In 2008, Brian added ASCAP’s Film and
Television Scoring Workshop’s Steve Kaplan Scholarship to his already long list of
accomplishments and awards. Most recently Brian had the honor of writing a fanfare for Her
Majesty the Queen's state visit to Ireland.
JANE MUSKY (Production Designer), one of the most prolific and diverse
production designers in the industry, has films ranging from the blockbusters WHEN HARRY
MET SALLY, GHOST and HITCH. Musky began her career working in the New York and
London theatre. She worked at the Williamstown Theater Festival, The English National
Opera, Glydebourne Opera and on the hit Broadway musicals “Barnum” and “The News” to
name a few. Jane’s career transitioned to film design when she was hired by Joel and
Ethan Coen to design their first feature, BLOOD SIMPLE. She followed that up with a
second Coen brothers’ collaboration, RAISING ARIZONA. Jane Musky’s body of film and
television work encompasses many styles and periods. She has had rich collaborations
with Directors Joel and Ethan Coen, Paul Schrader, Rob Reiner, Alan Pakula, Gus Van
Sant, Mike Newell, Francois Girard, Ivan Reitman, Andy Tennant, Peter Bogdanovich, Jerry
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Zucker, George Tillman, Nick Hytner and Diane English. Musky prides herself as a
production designer who successfully creates environments that satisfy a script’s emotional
content allowing for a human point of departure into a film’s story.
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